Essay name: Bhasa (critical and historical study)
Author: A. D. Pusalker
This book studies Bhasa, the author of thirteen plays ascribed found in the Trivandrum Sanskrit Series. These works largely adhere to the rules of traditional Indian theatrics known as Natya-Shastra.
Page 249 of: Bhasa (critical and historical study)
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External source: Shodhganga (Repository of Indian theses)
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CHAPTER VIII
THIRTEEN BHASA PLAYS (Continued).
As compared with the plays considered in the last
Chapter, those that are dealt with in the present Chapter
may be said to show somewhat successful attempts of the
poet in executing dramas proper. The prologues
themselves bear ample testimony, as in all the plays in
this Chapter both the stage-manager and his mistress are
to be met with. In the earlier plays, only the stage-
manager appears, his assistant in addition appearing
only in the Abh and the Uru. The Svapna has only the
stage-manager in the prologue, but there are strong
grounds to presume that the prologue in the Svapna has
not been faithfully preserved.
础痴滨惭膧搁础碍础.
Title. The play gets its name from its hero who is
called Avim膩raka though his name was Vi峁ａ箛usena,
because of his being the killer of (m膩raka) the demon
who had assumed the form of a goat (avi). Cf.
Avi, II. 9.
"
Plot. The stage-manager recites the benedictory
stanza in praise of N膩r膩ya峁嘺 and calls his wife, who
expresses a desire to go with him to the public garden for
some religious function. That very moment it is learnt
that the princess was in the garden and that the elephant
was in rut. So the stage-manager tells his wife to wait
till the princess left the garden as there were placed.
sentries all around. Then they both leave the stage, and
the main scene opens with king Kuntibhoja entering with
his retinue. The king has a daughter who has attained
